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Please see our Self-Rating Guide for definitions of levels
Instrumental and vocal consorts grouped by level, Beg to Adv: Recorder, viol, voice, strings, harp, mixed instrument, and Accademia (see below for link to description) Voice Classes will include rhythmic, interval and sight reading exercises to strengthen the students’ musicianship. (B to A)
Voice Classes will include rhythmic, interval and sight reading exercises to strengthen the students' musicianship.
Strike the Viol: An Introduction to the Viola da Gamba (Instruments provided for the week. B-UB): Lisa Terry
Whether you have a background playing a bowed string instrument or none at all, this is the perfect time to experience the pleasurable sound of vibrating strings!
(adv. Loud Band offered 4th period)
We will explore dances and tunes of the 17th century.
Baroque Master Class (Recorders, flutes, viols/cellos, keyboard players. A): Héloïse Degrugillier, Frances Fitch
Participants will be asked to bring two solo pieces they know well in order to receive coaching in a master class setting. Participants will also work on ensemble pieces.
Accademia: Instruments and Voices (Pre-registration): Sarah Mead, Michael Barrett
A full day intensive High Renaissance Ensemble Program for advanced voices, viol and wind players. (16th c. viols and recorders provided for student use.)
Music by: Frances Fitch, Brandi Berry: Connecting with the Music and with your Community. We'll dance favorites from the canon, recent classics, joyous romps, elegant gems, and stately pavanes, while learning good dancing practices that benefit everyone. All are welcome, from new dancers to seasoned dancers!
Please note: Absolute Beginner’s Class will be offered the first day to learn basic steps. The class will then join the English Country Dance Class for All with advanced "angels" assisting.
Music by: Cynthia Shaw, Emily O'Brien: For dancers thoroughly comfortable with English country dance figures. Bring your brain, as we'll learn some of the more complicated dances in the repertoire, both old and new (and we may do some dances without walk-throughs). And bring your dancing body, as we'll also spend time on how we dance – the style points that increase your enjoyment and that of your fellow dancers.
Collegium “Titans of the Renaissance” (Voices, recorders, flutes, strings. I-HI): Chris Rua, Larry Zukof
From the sublime to the earthy, we will explore gorgeous sacred and secular settings by the great masters and influencers of the Renaissance. Works by Josquin, Isaac, Byrd, Guerrero, Victoria and others. There will be some break-out sessions for the singers while the players read instrumental pieces.
Sing the words, play the tune, improvise... In addition to the finely crafted French and Italian courtly dances spanning the 12th to 14th centuries, we will explore the tradition of “danced songs:” balader, ballare, to dance; virelai from the verb virer, to twist; carola, carol, querole, a circle or line dance. Bring percussion and any instrument that you think you can most easily “wail on.”
This ensemble will focus on various arrangements of dance movements from the High Baroque including works by Telemann and from the Bach Orchestral Suites.
Hone your tone, strengthen your rhythm and get some serious technical advice on how to improve your playing and musicianship. Participants will be divided into two sections, based on level, and work on a series of musical exercises, as well as problem-solve and overcome difficult parts of that stymie you. Exercises will focus on tone quality, breathing, rhythm, thumb technique, learning C or F fingerings, tuning, and more.
Rate The Professor: A Renaissance Ensemble (Recorder, flute, string, harp, lute, sackbut. HI and up): Mack Ramsey
Trace the lineage, student to teacher, from the apex of c1600 Venice, back to the Netherlandish School including works by the Gabrielis, Willaert, Mouton and others.
Playing for English Country Dance (Any instrument. Players with reasonable sight-reading facility): Gene Murrow
The music of England's social/folk dance tradition is unusual in its embrace of a wide variety of musical forms and sources including European Renaissance-era dances, English ballads, Baroque theatre songs and dances, folk songs, as well as contemporary tunes drawing on a variety of international genres. Playing for dancers is a thrill, and learning to make this variety of music danceable is a valuable skill for any musician. Traditionally, the required techniques are handed down from mentors to students, and so we’ll work on ensemble skills, styling, and improvisation as a group.
In this class, we will look at several dances for fixed numbers, especially squares for eight--dances from Playford collections, cotillons, quadrilles, and more. We will look at some period-appropriate footwork; if there is time, we may look at the minuet step also.
Come and develop a more accurate mental map of your body's ingenious construction. Play or sing with greater ease, avoid injury, and even improve those pesky aches and pains that can result from playing your instrument (or using a computer). This class is fun, fascinating and helpful.
Chorus: Networks -- exploring connections among Renaissance composers and their works (Singers. All): Michael Barrett
Composers in the 16th century learned from one another through apprenticeships, the study of one another's work, and by the occasional friendly compositional competition. This summer the chorus will rehearse and perform a selection of works that demonstrate some of the intimate interrelationships of 16th-century composers and their craft. Featured composers will include Willaert, Lassus, Ockeghem, Josquin, and more!
Masters of Theater Music from 17th C. England and Spain (Recorders, strings. HI and up): Brandi Berry
In this class we'll explore dance and incidental music for the theater by, Blow, Locke and his great student Henry Purcell. We'll also add a sprinkling of excerpts of Spanish Zarzuelas from works by Mateo Romero and Juan Hidalgo de Polanco.
Isaac/Senfl, Gabrieli/Hassler, Buxtehude/Bach, are just a few examples of composer pairs we’ll explore as we look at the influences of one on the other. Sensuous, sparkling, and expressive pieces spanning the ages from renaissance to modern. Rep for the orchestra/consort will be chosen depending on the number and variety of instrument sizes.
Songs and ballads from the plays of William Shakespeare: The Bard’s 38 plays include only a few dozen formal songs, but are filled with musical allusions and snatches of popular ballads of the day which served as musical cues for the audience. We’ll explore some of the best-known songs (O mistress mine, It was a lover and his lass) and more obscure ballads (Sir Eglamore, Mad Tom o’Bedlam, etc.).
Balkan and Beyond: Ethnic Folk Music for Playing (Recorders, strings, other instruments, including chordal instruments, percussion. I-A): Daphna Mor
Generations of anonymous masters have passed down this mainly oral repertoire of folk and traditional music to students and to future masters, teaching them the melodies and the performance practice of ornamentation and interpretation. In this class we will enjoy musical treasure from North Africa, the Balkan region, the Middle East and the Sephardic Diaspora.
Hone your tone, strengthen your rhythm and get some serious technical advice on how to improve your playing and musicianship. Participants will be divided into two sections, based on level, and work on a series of musical exercises, as well as problem-solve and overcome difficulties that stymie you. Exercises will focus on tone quality, breathing, rhythm, thumb technique, learning C or F fingerings, tuning, and more.
Hark the Lark: An Introduction to the Baroque Flute (Instruments available for loan. B): Alexa Raine-Wright
Have you always wanted to try the Baroque flute? With an easier embouchure than the Renaissance flute, this could be your entry into expanding your musical horizons. By the week's end we will be playing beautiful and lively melodies, duets, and maybe even trios.
Follow the Piper: An Introduction to the Renaissance Bagpipe (Instruments provided for the week. B): Christa Patton
Strains of bagpipes will waft once again through the pines of camp this August. Those curious with strong of lip and lung, come and learn the secrets of this delightful instrument. Pipe sets will be available for loan throughout the week (if you already have a pipe, let us know in advance).